Also Possible: Of course, these are only the most likely contenders: there’s room for plenty more surprises among the line-up. There’s often a big blockbuster or animated film playing out of competition (“Pirates Of The Caribbean: On Stranger Tides,” “Madagascar 3” and opener “The Great Gatsby” have ticked that box of late), so it’s possible that any of “How To Train Your Dragon 2,” “Godzilla,” “Maleficent” or “Edge Of Tomorrow” might show up in some form. It’s also worth keeping an eye on Clint Eastwood’s musical “Jersey Boys,” which opens in June — the director was at the festival with “Mystic River” and “Changeling.” In terms of U.S. product, we could see the premiere of Bennett Miller’s “Foxcatcher” — he’d be a Cannes first-timer, but the film should be ready, having been pushed from last year, and would certainly provide a high-profile launch. Another delayed possibility is Susanne Bier’s “Serena” with Bradley Cooper and Jennifer Lawrence, though Bier tends to favor TIFF and Venice for her films. Tim Burton’s “Big Eyes” could yet be ready in time, while James Franco has two new films that should be ready, “Bukowski” and “Black Dog Red Dog,” and also features in Wim Wenders’ “Everything Will Be Fine,” another possibility, while troubled Western “Jane Got A Gun” might yet turn up.

Lea Seydoux Charlotte Gainsbourg Catherine Deneuve

In terms of more international fare, German helmer Christian Petzold is back with “Phoenix,” and while he normally unveils his films in Berlin, it wasn’t in the line-up this time, so could well turn up on the Croisette. 105-year-old Manoel De Olivera could be back too to make Eastwood look like a whippersnapper--his latest is “The Church Of The Devil,” but it’s unclear if it’ll be ready in time. French helmer Benoit Jacquot teams Charlotte Gainsbourg and Catherine Deneuve for “3 Hearts,” which certainly makes that an option, while Christophe Honore’s “Metamorphosis,” Ruben Ostland’s “Tourist” and Wang Bing’s “Love & Hate” could all show up. And “Berberian Sound Studio” director Peter Strickland could well appear (probably in Un Certain Regard rather than in Competition) with his latest, the Ben Wheatley-produced “The Duke Of Burgundy.”

Longer Shots: Like we said, there’s always room for surprises, so there’s a faint chance that some of the below might turn up, but for various reasons, we wouldn’t bet the farm on any of the following. Many are hoping that Terence Malick’s “Knight Of Cups” (or its untitled companion piece) and Paul Thomas Anderson’s “Inherent Vice” will be viable, but that mostly seems like wishful thinking: who knows when the Malick picture(s) will be ready, or if he’ll be back at Cannes, while PTA’s increasingly been taking less traditional routes, and a December release date suggests a fall bow might be more likely. But we’d be happy to be wrong in both cases.

Miss Julie Jessica Chastain Colin Farrell

As regards big-star fare, Ramin Bahrani’s “99 Homes” could be ready, but the director’s premiered everything at Venice, so that’s a more likely home, while Jeff Nichols’ “Midnight Special,” which only just wrapped, probably won’t be ready in time. Michael Roskam’s “Bullhead” follow-up “The Drop,” with Tom Hardy and Noomi Rapace, could be a dark horse, as might Jon Stewart’s Iran-set directorial debut “Rosewater.” We’d be surprised if the Weinsteins premiered either “The Imitation Game” or “Suite Francaise” in full, but look for their traditional presentation of snippets of footage at some point. Liv Ullman’s “Miss Julie,” with Jessica Chastain, might be a better bet. The last few years have seen high-profile Sundance fare like “Fruitvale Station,” “Beasts Of The Southern Wild” and “Martha Marcy May Marlene” get their European bows in the sidebar competitions, but there’s not much from this year’s batch that seems all that likely. If anything does cross the Atlantic, though, we’d put our money on “Whiplash,” “Listen Up Philip” or maybe “The Sleepwalker.” Peter Bogdanovich’s “Squirrel To The Nuts” could pop up, though last we heard it was still being edited.

In terms of international directors, we have our fingers crossed for Hou Hsiao-Hien’s long-delayed “The Assassin,” but we won’t hold our breath, especially as it only just (finally) wrapped. Similarly, Christi Puiu’s “Sierra-Nevada,” Francois Ozon’s “The New Girlfriend,” Nanni Moretti’s “Mia Madre” all only shot in the last few months, so will likely hit Venice or TIFF instead. Mia Hansen-Love’s “Eden” is also a better bet for the fall, though could squeak in under the wire. Johnnie To’s a Cannes favorite, but rom-com sequel “Don’t Go Breaking My Heart” seems like a stretch for a festival. Anthology picture “Rio I Love You” might be possible, as are new films by Andrzej Zulawski and Andreas Dresen. Finally, Godard’s long-awaited “Goodbye To Language 3D” might finally appear, but we’ve been burned before on that one. Know the scoop on the chances of these or any others getting The Call? Does the potential above get you excited for the festival? Let us know below. —Oli Lyttelton, Jessica Kiang